David Mamet
David Mamet
David Alan Mametis an American playwright, essayist, screenwriter, and film director. As a playwright, Mamet has won a Pulitzer Prize and received Tony nominations for Glengarry Glen Rossand Speed-the-Plow. Mamet first gained acclaim for a trio of off-Broadway plays in 1976, The Duck Variations, Sexual Perversity in Chicago, and American Buffalo. His play Race opened on Broadway on December 6, 2009...
NationalityAmerican
ProfessionPlaywright
Date of Birth30 November 1947
CityChicago, IL
CountryUnited States of America
We respond to a drama to that extent to which it corresponds to our dream life.
The poker player learns that sometimes both science and common sense are wrong; that the bumblebee can fly; that, perhaps, one should never trust an expert; that there are more things in Heaven and Earth than are dreamt of by those with an academic bent.
The dream and the film are the juxtaposition of images in order to answer a question.
The terror and beauty of the dream come from the connection of previously unrelated mundanities of life.
The great movie can be as free of being a record of the progress of the protagonist as is a dream.
Freud believed that our dreams sometimes recapitulate a speech, a comment we've heard or something that we've read. I always had compositions in my dreams. They would be a joke, a piece of a novel, a witticism or a piece of dialogue from a play, and I would dream them. I would actually express them line by line in the dream. Sometimes after waking up I would remember a snatch or two and write them down. There's something in me that just wants to create dialogue.
Every reiteration of the idea that _nothing matters_ debases the human spirit. Every reiteration of the idea that there is no drama in modern life, there is only dramatization, that there is no tragedy, there is only unexplained misfortune, debases us. It denies what we know to be true. In denying what we know, we are as a nation which cannot remember its dreams--like an unhappy person who cannot remember his dreams and so denies that he does dream, and denies that there are such things as dreams.
The images in a dream are vastly varied and magnificently interesting.
I'm not saying Mike was like that in real life. Although he was and is.
Oh, you know what? I got a better idea.
Consider: for all the gobbledegook [film studio] executives spout about backstory, all that we, the audience, want to know is what happens next. That's the only thing that's going on. . . . Character is nothing other than action, and character-driven means The plot stinks, and you'd better hope the star is popular enough to open the movie in spite of it.
No one enjoys being equal.
In a restaurant one is both observed and unobserved. Joy and sorrow can be displayed and observed "unwittingly," the writer scowling naively and the diners wondering, What the hell is he doing?
Any time two characters are talking about a third, the scene is a crock of s***.